The Department of Music offers a broad-based undergraduate concentration that combines the study of history, theory, composition, and performance. The core of the program consists of two years of theory (with associated labs that provide further training in the musicianship skills necessary for all musical endeavors) and three semesters in the history of Western music. The remaining courses are electives, giving students flexibility to shape the program in accordance with their interests. Qualified students may elect to do the Performance Program in addition to the concentration.

Graduate Program in Music

The department offers graduate programs in three areas: composition and theory, musicology, and performance. The department also offers, in conjunction with the Program in Women's Studies, a joint M.F.A. in music and women's studies.

Composition and Theory

The department offers three degree programs in composition and theory: M.A. (normally one year), M.F.A. (normally two years), and Ph.D. (normally one or more years following the completion of M.F.A. requirements). The programs are designed to help students develop a command of the craft of composition. That objective is supported by studies in theory and analysis and in electro-acoustic music.

Musicology

The department offers three degree programs in musicology: M.A. (normally one year), M.F.A. (normally two years), and Ph.D. (normally one or more years following the completion of M.F.A. requirements). The programs offer an integrated approach to the understanding of the nature, structural basis, and historical development of music. Students may elect to emphasize or concentrate in music history, or in theory and analysis. In the music history program, a variety of techniques and methodologies, including source studies, style development, and historiography, are applied to different repertories and historical problems. The theory and analysis program features work in the history of theory as well as analytic work in the context of theory construction involving the evaluation of pretonal, tonal, and contemporary analytic models. Courses consist of proseminars and seminars: proseminars survey an array of topics illustrating the representative avenues of research and methodological approaches while seminars typically concentrate on a single topic.

Performance (Post-Baccalaureate)

The department offers an Artist's diploma in instrumental performance. The Artist's diploma is a one-year program of study for the young professional instrumentalist. Soloists and chamber ensembles are welcomed. The program operates in the context of a strong graduate music department, and prepares the student to enter competitions or to take auditions.

Music and Women's Studies

The department offers an interdisciplinary program in women's studies and music, leading to a joint M.F.A. in music and women's studies. Topics include feminist theory, gender studies, cultural history, and the investigation of work by and about women.

How to Become an Undergraduate Concentrator

Before admission to the concentration, candidates will normally pass MUS 101a and b, with accompanying labs MUS 102a and b, preferably during their first year, and must demonstrate competence at the keyboard.

Instruction under the basic piano program is offered for those who are deficient at the keyboard. The required proficiency must normally be demonstrated by the end of the sophomore year. No fee is charged for this instruction and no credit is granted.

How to Be Admitted to the Graduate Program

The general requirements for admission to the Graduate School, as specified in an earlier section of this Bulletin, apply to candidates for admission to this area of study. Students are advised to submit scores on the Graduate Record Examinations. Applications received after the deadline will be considered on a rolling basis until the program is filled.

Applicants for study in composition and theory are required to submit evidence of qualification in the form of examples of original work in musical composition; they must also take a departmental written test in basic musicianship and analysis. Applicants for admission in musicology should submit examples of their prose writing on music. Musicology applicants wishing to specialize in theory and analysis should also submit examples of advanced work in musical theory. Applicants for the Artist's diploma should arrange for an audition. Audition repertoire should comprise three works of contrasting style.

Admission is granted for one academic year at a time. Readmission will be refused in cases where students have not demonstrated a capacity for acceptable graduate work.

Theory (six semesters): Mus 101a and 101b (with associated lab MUS 102a and b), and MUS 103a and 103b (with associated lab MUS 104a and b). Placement at the appropriate level is by an examination given at the beginning of the semester. Students may be exempted from any portion of this sequence by examination.

History (three semesters): MUS 121a, MUS 122b, MUS 123b.

Electives (three semesters): Any courses numbered above 20, however MUS 111a and b (Private Instruction for Instrumentalists), or 112a and b (Private Lessons: Voice), may be taken once only for concentration credit. ANTH 62a may be taken as an elective for the concentration or minor in music.

Alternate programs: At any time prior to the completion of the junior year, the student may, in consultation with his or her advisor, submit an alternate proposal for the completion of the concentration. Such proposals will be considered by the department on the basis of their coherence and appropriateness to specific goals.

B. All concentrators in music are required to participate in one of the faculty-supervised performance activities of the music department (such as Early Music Ensemble, Orchestra, Chorus, Chamber Choir) with or without credit, as the student chooses, and in Music Colloquium. In addition, solo recitals may be given by students.

C. Additional requirements for candidates for degrees with distinction: To be eligible for honors in music, candidates must demonstrate superior ability through their overall record and a capacity for independent thought beyond the limits of their course program (such as a written thesis, an approved project in original composition, or a senior recital).

Performance Program (Undergraduate)

The performance program is available to qualified music concentrators by audition (normally at the end of the first year). The requirements are:

A. Completion of all concentration requirements.

B. Two additional electives concerned primarily with issues of performance, to be approved by the director of the Performance Program and to be selected from the following: MUS 110b, 113a, 114a, and 116a,b. (MUS 10a and b through MUS 15a and b and MUS 111a and b and MUS 112a and b may not be used as electives for the Performance Program.)

C. Private lessons and ensemble.

D. Recitals in the junior (MUS 117a and b) and senior year (MUS 118a and b). The recital in the senior year may be taken as 99d (Senior Project) by petition.

Requirements for the Undergraduate Minor

The minor in music consists of the equivalent of six semester courses:

A. Theory (MUS 101a and b, with accompanying labs MUS 102a and b).

B. History: Two courses from among MUS 121a, MUS 122b, and MUS 123b.

C. Any additional course numbered higher than 20.

Requirements for the Artist's Diploma in Instrumental Performance

A. Four courses (two per semester), of which two are MUS 299a and b (Individual Research and Advanced Work), taken with a member of the Lydian String Quartet or other performance faculty, addressing topics such as pedagogical and coaching techniques, orchestral conducting, contemporary string techniques, early music performance, and performance practice; and two are graduate-level proseminars or seminars in music history, analysis, or theory.

B. Lessons and chamber music coaching with the Lydian String Quartet (20 hours a semester).

C. Two full-length concerts, one a solo recital, the other a solo recital or chamber music concert.

D. One year of residency.

E. Attendance at departmental colloquia.

Requirements for the Degree of Master of Arts

Composition and Theory

A. Six courses at the graduate level: seminars in composition, proseminars in tonal writing; proseminars and seminars in tonal and nontonal analysis.

B. A composition that is begun during the first semester, completed in time to be performed in the spring graduate composers' concert.

C. One year of residency.

D. Attendance at departmental colloquia.

Musicology

A. Six courses at the graduate level: proseminars and seminars in musicology (including an array of courses in different historical periods, in music analysis, and in history of theory).

B. Satisfy the language requirement in French or German.

C. A seminar paper written during the first semester, expanded with independent supervision of a faculty member during the second semester.

D. One year of residency.

E. Attendance at departmental colloquia.

Requirements for the Degree of Master of Fine Arts

Composition and Theory

A. Twelve courses at the graduate level: proseminars and seminars in composition, seminars in tonal and non-tonal analysis, a course in electro-acoustic music (or demonstrate a proficiency).

B. Satisfy the language requirement in one language (French, German, or Italian, or another language by petition).

C. Examinations: Demonstration of competence by means of a portfolio review and written general examination at the end of the second year of study.

D. Thesis: An original composition, the scope to be approved by the faculty in composition.

E. Two years of residency.

F. Attendance at departmental colloquia.

Musicology

A. Twelve courses at the graduate level: proseminars and seminars in musicology (including an array of courses in different historical periods, in music analysis, and in history of theory).

B. Satisfy the language requirement in French and German. Students may substitute another language for French by petition. The German requirement should be satisfied by the end of the first year.

C. Thesis: Either a thesis that is an analytical or historical study of a topic acceptable to the music faculty or revised copies of two seminar papers that have been certified by the seminar instructor and at least one other faculty member as demonstrating a high degree of competence in research writing. Two copies of the thesis must be submitted to the department chair in final form no later that December 1 for a February degree, or April 1 for a May degree.

D. Two years of residency.

E. Attendance at departmental colloquia.

Requirements for the Joint Degree of Master of Fine Arts in Music and Women's Studies

A. WMNS 205a or another course designated as a foundational course.

B. Two courses at the graduate level listed as electives in women's studies, one in music, and one from another department.

C. Two courses at the graduate level in the music department.

D. Participation in the Women's Studies Colloquium Series.

E. Attendance at departmental colloquia.

F. Thesis: An analytical or historical study of a topic with a women's studies focus, approved by the program advisor and the Women's Studies Graduate Committee; the thesis can be a chapter of a dissertation, an expanded and revised seminar paper, or other substantial study; the thesis is certified by the program advisor and at least one other faculty member. Two copies of the thesis must be submitted to the department chair in final form no later than December 1 for a February degree, or April 1 for a May degree.

Requirements for the Degree of Doctor of Philosophy

Composition and Theory

A. Sixteen courses at the graduate level.

B. Teaching: Beginning with the second year of residence, Ph.D. candidates in composition are required to participate as teaching assistants in the relevant undergraduate courses, for a minimum of four semesters.

C. Satisfy the language requirement in one language (French, German, or Italian, or another language by petition).

D. Three years of residency.

E. Examinations: General examinations during the second year. Oral qualifying examination in the third year.

F. Dissertation: An original musical composition and a thesis on a theoretical or analytical subject. Two copies of the thesis, as well as an abstract not to exceed 350 words in length, should be submitted to the department or committee chair no later than December 1 for a February degree, or March 1 for a May degree, of the academic year in which the Ph.D. degree is to be conferred. Upon completion of the thesis, the candidate is expected to defend it in a Final Oral Examination. The faculty in composition attempts to arrange for the performance of dissertation compositions whenever possible.

G. Attendance at departmental colloquia.

Musicology

A. Satisfactory completion of all requirements for the M.F.A. except the thesis.

B. Teaching: Beginning with the second year of residence, Ph.D. candidates in musicology are required to participate as teaching assistants in the relevant undergraduate courses, for a minimum of four semesters.

C. Examination: At the end of the second year, candidates must demonstrate competence by means of a written general examination.

D. Three years of residency.

E. Four courses at the graduate level, normally MUS 401d (Dissertation Research), or other courses as recommended by the faculty.

F. Dissertation proposal: 15-20 page prospectus of the dissertation developed in consultation with the dissertation advisor and presented to the faculty for their approval, no later than the end of the third year of residency.

G. Dissertation on a historical, theoretical, or analytical subject. Two copies of the doctoral dissertation, as well as an abstract of the dissertation not to exceed 350 words in length, should be submitted to the department or committee chair no later than December 1 for a February degree, or March 1 for a May degree, of the academic year in which the Ph.D. degree is to be conferred.

Dissertations should demonstrate the competence of the candidate as an independent investigator, his or her critical ability, and effectiveness of expression. Upon completion of the dissertation, the candidate is expected to defend it in a Final Oral Examination.

H. Attendance at departmental colloquia.

Special Notes Relating to the Graduate Program

Master's Degree

Students may normally hold only one master's degree in the department. For example, a student who earns the joint M.F.A. degree in music and women's studies may not apply for the M.F.A. in musicology.

Language Requirements

Language examinations to test reading proficiency are administered by the music department. Students will be asked to translate several passages with the aid of a dictionary. Foreign language course credits do not in themselves constitute fulfillment of the language requirements. Examinations will be offered once per semester. In case of failure, an examination may be taken more than once.

Instrumental Proficiency

At least moderate proficiency at the piano is required of all candidates for advanced degrees.

A general introduction to the materials and forms of music, and a study of musical literature. Training in analytical listening, based on selected listening assignments. Open to nonconcentrators who are assumed to have little or no previous knowledge of music. Usually offered every year.

The focus will be on the string quartet and music for strings and keyboard. Key works from the Baroque through recent music will be performed, examined, and placed in cultural context. Composers represented will include Bach, Haydn, Mozart, Beethoven, Schubert, Schumann, Brahms, Debussy, Ravel, Stravinsky, Schonberg, and Ives. Usually offered every year.

For the general student with no musical background. Two hours a week will be devoted to the notation of music, including scales, intervals, keys, triads, rhythm, and meter. The third hour will be devoted to sightsinging and dictation. Reading knowledge of music is not required; a placement exam to be given before the first day of instruction is required. Usually offered every year.

For the student who already possesses some reading knowledge of music. Two hours a week will be devoted to elementary harmony and counterpoint. The third hour will be devoted to sightsinging and dictation. A placement exam to be given before the first day of instruction is required. Usually offered every year.

Offered exclusively on a credit/no credit basis. Signature of the instructor required. Admission by the consent of the instructor based on an audition. Instrumental and/or vocal experience, and competency in sight-reading required. Two semester hours credit. A maximum of four course credits will be allowed for all enrollments in Ensemble (10a,b-15a,b) alone or Lessons and Ensemble together. May be undertaken as an extracurricular, noncredit activity.

Examines the performance of music written before 1750. A large collection of historical instruments is available for student use and instruction. Solo, ensemble, and one-on-a-part opportunities. Usually offered every year.

Offered exclusively on a credit/no credit basis. Signature of the instructor required. Vocal experience and sight-reading skill required. Two semester hours credit. A maximum of four course credits will be allowed for all enrollments in Ensemble (10a,b-15a,b) alone or Lessons and Ensemble together. May be undertaken as an extracurricular, noncredit activity.

Offered exclusively on a credit/no credit basis. Signature of the instructor required. Admission by the consent of the instructor based on an audition. Two semester hours credit. A maximum of four course credits will be allowed for all enrollments in Ensemble (10a,b-15a,b) alone or Lessons and Ensemble together. May be undertaken as an extracurricular, noncredit activity.

Performs in concert great literature from the 16th to the 20th centuries. Aspects of singing, musicianship skills, and ensemble building are emphasized. Usually offered every year.

Offered exclusively on a credit/no credit basis. Signature of the instructor required. Admission by the consent of the instructor based on an audition. Two semester hours credit. A maximum of four course credits will be allowed for all enrollments in Ensemble (10a,b-15a,b) alone or Lessons and Ensemble together. May be undertaken as an extracurricular, noncredit activity.

The Brandeis Jazz Ensemble has about 15 musicians. Instrumentation is different depending on who auditions. Repertoire will include charts by Mingus, Ellington, Gil Evans, Sun Ra, and others, as well as arrangements and original compositions by the director. Students are also encouraged to write for the group. Experience improvising is not essential but students must be able to read well and not be afraid to practice. Usually offered every year.

Offered exclusively on a credit/no credit basis. Signature of the instructor required. Admission by the consent of the instructor based on an audition before the director of the orchestra. Two semester hours credit. A maximum of four course credits will be allowed for all enrollments in Ensemble (10a,b-15a,b) alone or Lessons and Ensemble together. May be undertaken as an extracurricular, noncredit activity.

The ensemble gives several concerts each year, sometimes joining with the chorus to perform large-scale works. Usually offered every year.

Offered exclusively on a credit/no credit basis. Signature of the instructor required. Admission by the consent of the instructor based on an audition before the director of the orchestra. Two semester hours credit. A maximum of four course credits will be allowed for all enrollments in Ensemble (10a,b-15a,b) alone or Lessons and Ensemble together. May be undertaken as an extracurricular, noncredit activity.

The Wind Ensemble gives one to two concerts a semester. Members of the Wind Ensemble may be asked to play with the orchestra as needed for large-scale works. Usually offered every year.

This course may not be repeated for credit by students who have taken MUS 192b in previous years.

The history of jazz is examined by exploring the various incarnations of the blues idiom throughout jazz's history. Aural and written examinations in addition to a final paper will be required. Usually offered every year.

Exploration of the tensions between folk, popular, and cultivated traditions. Course will focus on select repertories, beginning with New England psalm singing from the 18th century and closing with musical theater, jazz, and art composers from the 1920s and 1930s. Usually offered every second year. Will be offered in the fall of 2001.

The originality and magnitude of Bach's achievement will be measured in reference to the musical and cultural traditions he inherited. Representative works for each genre will be discussed to uncover the elements of Bach's individual style and the nature of his genius. Usually offered every second year. Will be offered in the spring of 2002.

A study of the most influential musician in the history of Western civilization. Although attention is given to his place in society, emphasis falls on an examination of representative works drawn from the symphonies, concertos, chamber music, and solo piano works. Usually offered every second year. Will be offered in the fall of 2001.

The course's purpose is to examine a major genre of Western classical music--the symphony. By analyzing representative masterpieces, students will acquire an understanding of the development of musical style in the Classic, Romantic, and Modern periods. Usually offered every second year. Will be offered in the spring of 2002.

Focuses on a series of masterpieces in the ballet repertoire from the romantic era to around 1970. Emphasizes ballet schools and styles, including the music of composers such as Tchaikovsky, Debussy, Stravinsky, Ravel, Prokofiev, Copland, Chopin, and Schumann, and choreographers such as Bournonville, Petipa, Ivanov, Nijinsky, Balanchine, and Graham. Usually offered every fourth year. Last offered in the fall of 1996.

The expressive and stylistic dimensions of Romanticism as a musical movement in the 19th century. Topics include Wagnerian music drama, the relation of poetry to music in the works of Schumann, Berlioz, and Liszt, the roots of Romanticism in Beethoven's music as well as its aftermath and flowering in the 20th century. Usually offered every fourth year. Last offered in the fall of 1997.

Beginning with a consideration of the meaning of Romanticism and its manifestation in the styles of several major composers, the course will center on the various composers and aesthetic movements of the period before World War I. Usually offered every second year. Last offered in the fall of 2000.

We consider the construction of gender in a representative selection of operas from the 17th century to the present. Drawing on the new methodologies of feminist musicology, we explore the representations of men and women and their roles in society. Usually offered every second year. Last offered in the spring of 2001.

Signature of the instructor required. This course yields half-course credit and is normally open only to music concentrators in their junior and senior years. May be taken twice for credit if no undue duplication of content is involved.

Reserved for projects such as directed readings, preparation of a work for performance, or internships that do not require written work (papers or compositions). Usually offered every year.

Signature of the instructor required. This course yields half-course credit and is normally open only to music concentrators in their junior and senior years. May be taken twice for credit if no undue duplication of content is involved.

Reserved for projects such as directed readings, preparation of a work for performance, or internships that do not require written work (papers or compositions). Usually offered every year.

Signature of the instructor required. Open to qualified undergraduates.

One-semester course with one semester credit. Requires written work such as a historical or analytical essay, preparation of a critical edition, or the creation of an original musical composition. Usually offered every year.

Signature of the instructor required. Open to qualified undergraduates.

One-semester course with one semester credit. Requires written work such as a historical or analytical essay, preparation of a critical edition, or the creation of an original musical composition. Usually offered every year.

A full-year course with two semester course credits. Open to seniors with a grade point average in music of 3.00 or above. Admission by petition. May involve a thesis, musical performance, or composition. In all cases, it must produce written work. Usually offered every year.

Staff

(100-199) For Both Undergraduate and Graduate Students

Except in the rarest circumstances, graduate credit is not allowed for courses numbered below MUS 185.

Admission by placement exam to be given during the first day of instruction. Corequisite: MUS 102a. Signature of the instructor required.

A first course for students who already read music, but wish to develop a deeper involvement. Students investigate how music "works" by composing exercises based on examples of tonal music and literature that students are practicing for performance. Focuses on elementary harmony and voice-leading, counterpoint, analysis, and model composition. In the required one-hour lab (MUS 102a) students practice sight-singing and dictation, skills essential to music literacy. Usually offered every year.

The second semester introduces broad concepts of theory and begins the process of learning to write and analyze music. By the end of the year students will gain experience in counterpoint, harmony, and formal analysis. Throughout the year the relationship of repertoire and theory is stressed. The ear-training and keyboard lab meets separately. Usually offered every year.

Designed to help students develop essential music literary skills. Beginning sight-singing, simple melodic and harmonic dictation rhythmic studies. Materials drawn from the corequisite lecture course. Keyboard harmony. Usually offered every year.

Offered exclusively on a credit/no credit basis. Signature of the instructor required.

Students are introduced to a variety of compositional issues by writing five or six short pieces and one longer project. Concurrently, pertinent examples from the 20th-century classical repertoire will be discussed. Usually offered every second year. Will be offered in the spring of 2002.

Prerequisite: Any music course or permission of the instructor. Signature of the instructor required.

A course designed to give students basic studio skills and a context for listening to and working in electronic music. Topics include basic acoustics, sound design, digital and analog recording techniques, and assignments on the pioneers and current practitioners of electro-acoustic music. Hands-on experience in the use of MIDI-controlled synthesizers, samplers, and production equipment. Individual studio projects based on individual studio time. Usually offered every year.

Explores the implications of historically informed performance in Western music of the 16th and 17th centuries. Through study of early instrumental and vocal pedagogy, period instruments, ensembles and editions, students will discover how historical context influences our perception of music. Course will include field trips to historical instrument workshops. Usually offered every second year. Last offered in the spring of 2001.

Offered exclusively on a credit/no credit basis and yields half-course credit. Signature of the instructor required. Admission by the consent of the instructor based on an audition. Students registering for 111a must also register for a departmental Ensemble (10a,b-15a,b,or 116a,b); 111a may NOT be taken alone. A maximum of four course credits will be allowed for all enrollments in Ensemble (10a,b-15a,b) alone or Lessons and Ensemble together. One credit may be applied toward the concentration and minor in music. Studio fee: No fee for concentrators or Artist's diploma students; approximately $500 for non-concentrators. Limited financial aid available.

Instrumentalists will take 10, one-hour, private lessons per semester in the field of early music, jazz, or classical music while participating in a departmental ensemble on that instrument. Usually offered every year.

Offered exclusively on a credit/no credit basis and yields half-course credit. Signature of the instructor required. Admission by the consent of the instructor based on an audition. Students registering for 112a,b must also register for 11a,b, 12a,b, or by special arrangement 10a,b; 112a may NOT be taken alone. A maximum of four course credits will be allowed for all enrollments in Ensemble (10a,b-15a,b) alone or Lessons and Ensemble together. One credit may be applied toward the concentration and minor in music. Studio fee: No fee for concentrators or Artist's diploma students; approximately $500 for non-concentrators. Limited financial aid available.

Voice students will take 10, one-hour, private lessons per semester. Fundamental skills of breathing, resonating, and relaxing will be taught along with repertory appropriate to the individual student. A 10-minute jury is required in second semester. Usually offered every year.

Prerequisite: MUS 103a,b; 104a,b; and proficiency on an instrument or as a singer. Corequisite: Participation in departmental ensemble. Signature of the instructor required.

A minimum of five students is necessary. Score reading, score study and analysis, conducting technique, and conducting in class make up the curriculum of this course. Usually offered every third year. Last offered in the fall of 1999.

Admission by the consent of the instructor based on an audition tape. Preference given to formed groups. Signature of the instructor required. This course may not be repeated for credit by students who have taken MUS 199b in previous years.

Explores the connection between analyzing a composition and performing it. Does analysis reveal significant aspects of the music which can inflect, clarify, pace, and color the performance? This course is open to competent performers by audition only. Usually offered every second year. Will be offered in the spring of 2002.

Offered exclusively on a credit/no credit basis. Signature of the instructor required. Admission by the consent of the instructor based on an audition before the Lydian String Quartet. This course yields half-course credit. May be repeated for credit. May be undertaken as an extracurricular, noncredit activity.

Applies theoretical knowledge to music-making through study and performance of chamber music in masterclass setting. Examines how performance practice, basic structural analysis and historical context affect interpretation. Individual and ensemble preparation required. Additional ensemble coaching assigned throughout the course. Usually offered every year.

Signature of the instructor required. For music concentrators accepted into the performance program only. Admission by the consent of the instructor based on an audition. Two semester hours credit. Students may not enroll in MUS 111a,b or MUS 112a,b for credit while enrolled in MUS 117a,b.

Requires the preparation and performance of a full recital of significant, representative repertory appropriate to the instrument or voice of the student, including the selecting of repertory for a coherent program. Students are expected to demonstrate command of stylistic, technical, and expressive aspects of the chosen music. Private lessons in support of recital preparation are provided by department funds. Usually offered every year.

Signature of the instructor required. For music concentrators accepted into the performance program only. Admission by the consent of the instructor based on an audition. Two semester hours credit. Students may not enroll in MUS 111a,b or MUS 112a,b for credit while enrolled in MUS 118a,b.

Requires the preparation and performance of a full recital of significant, representative repertory appropriate to the instrument or voice of the student, including the selecting of repertory for a coherent program. Students are expected to demonstrate command of stylistic, technical, and expressive aspects of the chosen music. Private lessons in support of recital preparation are provided by department funds. Usually offered every year.

A survey of music history from Gregorian chant and the origins of Western polyphony to the end of the 17th century, considering major styles, composers, genres, and techniques of musical composition from a historical and analytical perspective. Usually offered every second year. Will be offered in the spring of 2002.

A survey of music from Vivaldi, Bach, and Handel through the end of the 19th century. Major styles, genres, and techniques of musical composition are discussed from a historical and analytic perspective, based on a study of representative works. Usually offered every second year. Last offered in the spring of 2001.

Surveys music history from 1900 to the present, considering major styles, genres, and techniques of musical composition from a historical and analytical perspective. Styles, techniques, and composers represented include impressionism, serialism, Debussy, Stravinsky, Schoenberg, Bartok, and Babbitt. Usually offered every second year.

Surveys the history of opera from its emergence around 1600 to the present day. In addition to tracing musical changes, we also consider the social, cultural, and intellectual trends that influenced (and were shaped by) these changes. Usually offered every second year. Will be offered in the fall of 2001.

This course will focus on interaction between gender and culture in shaping music and musical life. Topics will be drawn from the following: spirituality (medieval chant, American gospel); sexuality (opera, African-American blues, rap); politics (female orchestras and bands, the "woman-composer"); and women and pop music. Usually offered every fourth year. Last offered in the spring of 1999.

Prerequisites: MUS 101b and MUS 102b. Signature of the instructor required. Primarily intended for music concentrators and minors in the junior or senior year.

Historical and/or analytical and interpretive approaches to the study of selected musical masterworks. Typical topics: the Brahms string quartets; the operas of Verdi and Wagner; Bach cantatas; the 19th-century German lied; Haydn symphonies, Stravinsky ballets, Schoenberg operas. Usually offered every second year. Will be offered in the spring of 2002.

Covers composing and arranging for a small jazz group. Starting with basic melodic construction, students work through harmonizing a single melody and writing parts for up to three horns and rhythm section (complete with all the necessary transpositions) using introductions, interludes, and endings. There will be a concert at the end of the semester. Some very basic keyboard proficiency is essential, as well as a good command of notation and the ability to read treble and bass clef. Students are expected to be able to play their own chord progressions on the piano. Usually offered every second year. Last offered in the fall of 2000.

Prerequisite: Ability to read music and facility on an instrument. Signature of the instructor required.

This course explores some of the tools improvisers use to develop their craft: melody, harmony, rhythm, articulation, listening, and phrasing. This is approached through a series of exercises along with the playing and analysis of standard jazz tunes and the composing of solos over standard chord changes. Usually offered every second year. Will be offered in the fall of 2001.

Broad coverage of the principal topics and research techniques of medieval music; structure of the liturgy, chant notation, oral transmission theory, tropes and sequences, polyphonic notation, and rhythmic modes. Introduction to standard bibliographic tools including editions, facsimiles, microfilms, liturgical books, and reference books. Usually offered every third year. Last offered in the fall of 1997.

An introduction to the fundamentals of Renaissance musical language. Investigation of selected topics in Renaissance musicology, such as editorial methods, archival research, printed and manuscript sources, historiography, and analytical approaches to Renaissance music. Usually offered every second year. Will be offered in the spring of 2002.

In addition to tracing the evolution of the principal genres (e.g., sonata, symphony, string quartet, opera buffa, opera seria), the course assesses the historical position of the major figures from Bach and Handel to Mozart and Haydn. Particular emphasis is placed on understanding the phenomenon of the "style shift" from baroque to classical style. Usually offered every fourth year. Last offered in the spring of 1997.

A broad study of the principal stylistic developments and musical genres of the 19th century. Topics include significance of Beethoven on the musical thinking of the 19th century, the rise of national schools of composition, especially opera, and program music and its aesthetic and compositional bases. Usually offered every third year. Last offered in the spring of 1998.

The problem of meaning has reemerged as a central concern in musicology. Contemporary approaches to musical meaning in which interdisciplinary connections are emphasized will be considered. Possible topics of study include narratology, hermeneutics, gender studies, psychoanalytic approaches to biography and musical content, and the work of Peter Kivy. Changes in attitudes toward musical meanings that have occurred in the 19th and 20th centuries will also be explored. Usually offered every second year. Last offered in the spring of 2001.

Mr. Keiler

MUS 209a Seminar in Psychoanalysis and Biography: The Psychoanalytic Study of the Artist

The foundations of psychoanalytic theory in its contribution to the understanding of the artist. Topics include the relation of the artist to his work as seen from the perspective of psychoanalysis and creativity and the creative process. In addition to the pioneering work of Freud, Rank, and Kris, more contemporary issues in psychoanalytic theory, for example, ego psychology, are explored. The possible directions of applied psychoanalysis for musicology are considered. Usually offered every fourth year. Last offered in the spring of 1999.

Open only to Artist's diploma students. Yields half-course credit. Admission by the consent of the instructor based on an audition.

Requires the preparation and performance of one full recital per semester consisting of a coherent program made up of significant, representative repertory appropriate to the instrument. Students are expected to demonstrate command of stylistic, technical, and expressive aspects of the chosen music. Students take 13, one-hour, private lessons per semester. Usually offered every semester.

An investigation of analytic approaches to pre-tonal music, including such issues as text-music relations, tonal structures, compositional planning, use of pre-existing material. Usually offered every fourth year. Last offered in the fall of 1996.

An in-depth investigation of one selected topic in baroque music. Topics include the Monteverdi madrigals, 17th-century instrumental music, and the Bach Passions. The methodology employed varies according to the subject; emphasis is given to more recent research in most cases. Usually offered every fourth year. Last offered in the spring of 1996.

Investigation of problems raised or illuminated by the early and original sources of the music of J.S. Bach. Typical issues involve the chronology, authenticity, versions, and compositional origins of particular works, the implications of Bach's notational habits for editorial methods, and policy and for historical performance practice. Usually offered every third year. Last offered in the spring of 1999.

The interpretation of the music of J.S. Bach. Selected topics may include the Bach Passions, Bach's early cantatas, the Leipzig cantata cycles, Bach's instrumental cycles. Usually offered every third year. Will be offered in the spring of 2002.

A detailed exploration of one historical, analytical, or stylistic issue of current significance to 19th-century musicology. Topics included the two versions of Verdi's Simon Boccanegra and cyclic organization in the song cycles of Robert Schumann. Usually offered every fourth year. Last offered in the fall of 1999.

This seminar will study one of Wagner's major works in depth and from a variety of approaches: analytical questions; the sketches and drafts; Wagner's writings. Special emphasis will be given to Wagner's Schopenhauerian aesthetics. Usually offered every second year. Will be offered in the fall of 2001.

This course will study topics drawn from the period between 1860 and 1914. Topics may include Mahler's songs and symphonies, the aesthetics of late 19th-century music, the post-Romantic Lied with particular emphasis on Hugo Wolf. Usually offered every second year. Last offered in the fall of 2000.

The systematic study of the approach to music analysis developed by Heinrich Schenker. The basic concepts of diminution, voice leading, prolongation, and structural level are studied and their significance is applied to smaller examples as well as the principal longer forms of tonal music. The student gradually masters all of the notational techniques of linear analysis as they are applied to the tonal repertory. Usually offered every second year. Will be offered in the spring of 2002.

Considers constructions of song, body, and gender in early modern Europe, while encouraging interdisciplinary dialogue about the place of women. We develop a feminist paradigm for studying music that takes account of the historical difference of the Renaissance and the linguistic difference of song. Was offered in the fall of 1998.

Ms. Gordon

MUS 223a Music at the Boundaries: Traditionalism, Modernism, and Commercialism in early 20th-Century American Music

Explores aspects of American music in the early 20th century, focusing on the intersection of traditionalism, modernism, and commercialism. Topics include nostalgia in the songs of Charles Ives, gender and modernism, the popular music industry, and populism and experimentalism. Special one-time offering. Was offered in the fall of 2000.

Works in this course are selected from the late 19th and 20th centuries. Composers such as Wagner, Wolf, Debussy, early Schoenberg, Bartok, and Stravinsky. Usually offered every second year. Last offered in the spring of 2001.

Studies in 20th-century music and the revolution in sensibility at the end of the 19th century. Close reading of texts by Stravinsky, Bartok, and the Viennese School; also discusses European and American music since World War II. Usually offered every year.